While east Nashville Americana stars release bad-sounding, tacky albums on purpose under the flawed logic that this is how all the old greats did it, gluing together shallow observances about the music that miss on both texture and substance while they focus more on their vintage dud collection and Instagram accounts, a guy you’ve never heard of named Zephaniah OHora from New York City has just released one of the most lush, vibrant-sounding, well-produced and recorded albums of classic country music I have ever heard in this era or any other, and backs it up with superb songs, perfect instrumentation from his band The 18 Wheelers to fit the mood and style, and an overall dazzling listening experience that reminds you why you decided to become such an obsessed music fan you would spend the time to read someone’s opinion of albums on the godforsaken internet.

Zephanaiah OHora’s This Highway just very well might be a modern classic country masterpiece. Okay, it could have used a couple of quicker-paced songs to keep the energy flowing, or a little more spice to separate the tracks from each other. But otherwise, it’s flawless for what it is, which is a reawakening of everything brilliant and beautiful about the Countrypolitan era of country music, while leaving all the superfluousness of strings and choruses and other overproduction aside. In fact in a strange way, Zephaniah OHora, some 60 years after the original Countrypolitan era, has represented the essence and spirit of what made that era so great even better than some of the original artists and albums that helped define that epoch of American country music.

Enough can’t be said just about the way this album sounds, and how the songs are constructed. If nothing else, producers Jim Campilongo and Luca Benedetti deserve incredible accolade for capturing such warmth and body in the recording process, with the perfect amount of reverb to make the music sound vibrant, not just vintage, rewarding the listener with all the benefits of analog tape recording, but none of the constraints or trappings of it. So many try, sometimes valiantly, to get this process right, and regularly fail, feeling like as long as a reel to reel is involved, everything else will fall into place when sometimes even digital would be better due to a novice understanding of the medium. As the primary guitar player on the album, Jim Camilongo also did an excellent job interpreting the tones and modes of the Countrypolitan era through the lead licks.

But only audiophiles pull up albums to hear the quality of recordings that most listeners find too nuanced to enjoy. Ultimately it must be the songs and performances to carry the day, and This Highway scores very high marks on these pursuits as well. The challenge of all traditional and classic country music made in the modern context is how to make it appeal to the present day mindset, while still minding the stylings both sonically and lyrically of the past era you wish to evoke. It is true that country music must evolve to stay relevant. But if someone can work within the restrictive parameters of a specific era and allow all the hearkening and nostalgia to bolster the experience while still telling stories and touching themes that very much appeal to the modern heart, this is both a daunting, and enthralling creative enterprise worthy of praise if pulled off as well as Zephaniah does. It’s no different than an effort that relies on innovation to create musical intrigue when regarding the music on a creative scale.

It doesn’t matter if it’s 1957 or 2017, the human heart still breaks down the same lines, we all yearn for freedom when we feel constricted, and we all search for comfort when we’re alone. Zephaniah’s “Songs My Mama Sang” feels like something from the 60’s, yet it’s so real and relevant to today like so many of the songs from This Highway. Zephaniah wrote every song on this record except the stirring “Something Stupid” guested by Dori Freeman, and even includes a murder ballad in “I Can’t Le Go (Even Though I Set You Free).”

And don’t let me hear a peep about how some slicked back guy from the Big Apple is incapable of singing country music. Just listen to This Highway, and that perception is immediately discredited. One of the great things about Zephaniah is that you get the sense he knows who he is, and where he is from. At no point on this record does he attempt to inflect a Southern accent to the vocals, or pen a Southern perspective that would be imperceptible to his personal life experience. And if he did, it might have been a deal killer on the entire project, despite all of the other positive attributes because of the erosion of authenticity.

There is a little bit of New York City peppered into the narrative here. This feels very much like New York City country. The term “Countrypolitan” came from the contemporization of country music to appeal to country people who had moved to the city during the 50’s and 60’s for work and prosperity. Where do you think the themes of “Detroit City,” “Old Home Place,” and “Streets of Baltimore” came from? OHora puts his own stamp on it on this timeless theme with songs like “High Class City Girl From The Country.” Country music may not be authentic to New York City, but This Highway is authentic to Zephaniah OHora, and his experience as a classic country music fan living in the city. Is it only a matter of time before he goes all Daniel Romano on us and starts donning Adidas fashion and swearing off country fans as simpletons? Perhaps, but this won’t erode the quality of this effort an iota, just as it hasn’t those classic Romano records which still hold up, even though OHoroa has bested Daniel Romano many modern-made classic country projects with this effort.

If you want a good excuse to disregard Zephaniah OHora and This Highway, I offer my sincerest apologies. It is still eclectic to take this type of vintage approach to country music, and it won’t put Zephaniah on the Sturgill Simpson trajectory to superstardom. But for what it is and how it’s presented, This Highway leans heavily towards perfection.

I could access the 2 songs Trigger put up for us to listen to, maybe because I’m in Canada?, but anyway flipped over to YouTube to check this guy out. As soon as I saw his band I pretty much knew it was my kinda shit. Martin acoustic, steel guitar, and a Telecaster in the band. Hard to go wrong starting out with those classic country instruments.

This, oddly, coming from a professed fan of Midland….who take “pretending to be from The South” to a new level in their singing style, not to mention many other ways. Sorry Honky, but if you are going to try and be Mr. Super Critic, at least be consistent.

Yeah its really good. Another Gram Parsons inspired country singer, and there aint nothing wrong with that. I dont think it beats out bobby bare, or is particularly original, but it is the kinda music i wouldnt skip over.
You’ve lauded over those same east nashville artists before, (margo price definitely fits the mold you mentioned) so when youre that hypocritical in the first line of the article its hard to take you seriously saying “classic country masterpiece”. But ive yet too hear anything beyond the samples provided, so you may very well be right.

I’m not sure you’re characterizing my thoughts on Margo Price’s music fairly. I like Margo Price. But I’ve also been somewhat critical of her music on multiple occasions for the same reasons I wrote that first paragraph. In fact going back and reading my review of “Midwest Farmer’s Daughter,” it actually dovetails with my first paragraph pretty good.

“…even though style may be one of the album’s best assets, sometimes the style gets a little too cute. Something happened in East Nashville a few years ago, when every other artist started to operate vintage clothing stalls in the antique malls, and have four times the amount of Instagram followers to Twitter followers.”

It still got a good review and it’s a good album. But Zephaniah’s is great, in my opinion. Opinions are hard to argue, but I think I’ve been pretty consistent on my concern about the east Nashville mindset.

This is the best fucking thing I’ve heard in a long, long time! I listened to the whole album and this guy is fabulous. Great singing, writing, and production. I would say he has a Gene Watson quality to his voice. The guitar player definitely has some Roy Nichols going on. The production is marvelous. It’s a great mix between Bakersfield and the 60’s Nashville sound. I’m and just so damn happy to hear this. I would take this kind of country music over your darling Stapleton and Sturgill any day of the week. BTW, I’m the one who got shit about saying Gillian Welch wasn’t authentic… which she isn’t. But, just for the record, I don’t care where this cat is from. He’s talented and knows his shit. I’m just floored with how cool this record is.

Hell yeah I’m digging these 2 songs, off to the interweb / spotify / etc to delve a bit deeper!

Agreed on the Parsons etc comments above, in regards to current artists my quick take is that it reminds me of pre ‘mosey’ era Romano, but with a deeper / less nasally voice and higher quality recording (or maybe better production, I don’t know wtf I’m talking about but just sounds a bit more polished imo)

As always thanks for keeping us in the loop on some good new music, it’s very much appreciated!

FWIW / for the record, I love Daniel Romano’s music in all of its (very different) iterations, my favorite albums are the older / earlier ones but even the recent album has a few songs I really like (ie when I learned your name ), so my comment isn’t meant as a slight to him…

Just was the first thing that came to mind (from both the music & the review, which was spot on)

I listened to a few songs today, and while some is Countrypolitan, I hear a lot of vintage Merle Haggard in the lyrics. If I didn’t know better, maybe I could be excused for thinking these are Hag covers, but they’re not, it’s all original, a greatly talented artist. It doesn’t matter that he’s from NYC, music can speak to everyone, and I’d take his music over anything on the radio today. So many modern “artists” talk about how Southern and small town they are, but Zephaniah O’Hora shows what real Country is.

I think it’s great that such a polished classic country record is coming out of NYC. Refreshing to hear something that isn’t just from the usual suspects in east Nashville. Not that there’s anything wrong with the east Nashville players, but I’m excited to learn about this new scene. After lookin into them more, i’m really impressed with the work of his collaborators/producers Jim Capilonga and Luca Benedetti. I’m streaming Jim’s instrumental album ‘Last Night. This Morning.’ right now on spotify. Really dig it.

Two things. First, it takes some intestinal fortitude to make a country cover of a song that is wholly owned by Frank Sinatra (and Nancy too). Second, speaking of country coming out of New York, has anyone else listened to the “Still Your Fool” album by the Dixons? I think it is pretty darn good. I’ve had it for years, but haven’t found too much about them.

I rather liked the two song examples provided and I agree with the Gram Parsons-like comparisons.
Nothing wrong with that in my book, so I will definitely seek out more of this artist’s repertoire. Definitely another I would never have known about if he had not been reviewed in SCM. Thanks Trigger!

God…I knew this world was upside down and backwards, but who would’ve ever imagined that there would come a day when more authentic country music could come out of Brooklyn, NY than Nashville, TN? This is an irreproachable ode to the sounds that emanated from music row circa 1968 and if you aren’t listening to this and call yourself a country fan, than you must be Sam Hunt.

Thank you all for listening and thank you Trigger for his review and for this site. I am impressed with the polite etiquette and insightful observations here – I appreciated every comment.
Have a great day – Jim

Thanks for the review, Trigger. This is good stuff. It reminds me of Merle Haggard’s early work. What’s old is new again, I suppose. We’d all be well-served to re-visit his deeper album cuts. But I like this guy too.

Been listening to this a lot on the recommendation of this site, and it’s great.

Sadly, a few years ago ‘Somethin’ Stupid’ was covered by dire British pop act Robbie Williams along with Nicole Kidman in the UK and has thus ruined the song for most of us over here. Zephaniah wasn’t to know that though…

Trigger, Have you had anyone mention this has the total vibe of Lee Hazlewood? All he needs is his Nancy Sinatra. Assuming he’s Brooklyn-based. Granted Lee & Nancy were more popmopolitan than countrypolitan, but still! Loving it

I really like what I’ve heard so far. I am going to keep a look out for more real music. Ameripolitan, Pop-politan, if it’s real I will listen.
I just found the site. i would like to get my band invloved. http://www.cottondaleswamp.com

Thank you to all who made this record. Been listening to it Non-Stop. First album of new music I’ve purchased other than Bob Dylan in almost 10 years. Actually had a tear come to my eye when I heard high-class City girl from the country. Love the music the lyrics and especially the mid 60s country politan sound. thanks. Looking forward to a follow-up album.

Found Zephaniah’s The Highway in a bin of dollar CDs at a charity thrift shop in Palm Springs, CA today. What do people from Palm Springs know about classic country any how. Seems like nothing. I’d never heard of Zeph but liked the song titles and was hoping for a couple of winners to add to a classic country playlist. Dang!!! The entire album is a winner. Best way to tell you how much is to ask a question. How often do you find yourself listening to a song and thinking you wished Merle Haggard were still alive to record it?